Articles, Blog

Editing a NETFLIX ORIGINAL – A Crash Course

October 30, 2019

– [Sven] Compete in
the Filmsupply Edit Fest. Get your work in front
of world-renowned judges and win $80,000 in cash and prizes. (air whooshing) Netflix is the most popular
streaming platform in the world. (upbeat music) – I’m a celebrity. – [Sven] It has over 150 million subscribers worldwide. – Holy forking shirt! – [Sven] And a 71% market share. As an editor, it’s a badge of honor to cut a Netflix original. Hey man, how are you? – How you doing? – [Sven] Good to see you. – Good to see you. – [Sven] So I was
thrilled to meet up with Lawrence Jordan, ACE. – This is our visual
effects editor, Jose Marra. – Hello! – [Sven] Hi, Jose, how are ya? – How’s it going? – [Sven] Good, this looks cool. – Post Super’s office This is our music editor’s
spot, Andrew Silver. – [Sven] Nice, nice facility. – This is where our assistants are. Diana’s workstation. Rolf Fleischmann, our
first assistant station. That’s a rendering station right there. And this is my office. – [Sven] He opened up his bay to show us his process. – [Lawrence] The director
works with me in here. Basically works out of this office. – [Sven] Larry worked
on “Back to the Future.” (frantic music) And “War of the Roses.” – Come on.
(tires squealing) (metal clashing) – [Sven] As editor he
cut “NYPD Blue,” “Jack Frost” and “The Spy Next Door.” (kicks thudding)
(men grunting) I wanted to find out
what it’s like to work on an effects heavy comedy. – [Lawrence] I think the
most interesting thing about the project is that the star plays seven roles. – [Sven] The importance
of an assistant editor and how to become one. It’s the gateway to becoming an editor. – Always has been, yes. – [Sven] And finally, his process of cutting a Netflix show. – They’re new thinkers. You know, it’s not so much the old Hollywood studio system. – That’s my birthday and see– – But that’s my birthday. – Yeah but that would only make sense if in fact, you and I were… (splutters) – Twins? (playful music) – Check this part out. The hug. That was not part of the original shot. But, our VFX editor Jose figured out a way to comp that and ROTO it in After Effects and made that a very
effective part of the scene. But, this entire move
was as designed on set, So that’s the plate. – [Sven] The
plate is an empty shot. – Exactly, locked off, empty shot. – [Sven] And it
doesn’t do the movement? – It actually does the movement. They did the movement
with the techno-dolly which is a computer controlled dolly which can repeat motion. And that was really helpful to get nice moving shots
with multiple takes with the same actor
playing different parts. You know, it’s like
Marlon had to shoot Alan in the red coat on day
one and Russel on day two. And they would overlay
the film from day one on day two on the set to
see how their timing was and to make sure everything
was working right. The director Mike Tiddes
is really sort of, very technically inclined. He knows all about all the different kinds of tools and everything. So, you have to do all the plates exactly the same as the shot,
that way they match up. – You’re about to be an uncle. – Uncle Russel, that’s a terrible name! – Has a little ring to it. – Sounds like a cheesy
morning disc jockey. – Frankly, this is only
two characters in a scene and it gets a lot more
complicated from here. (upbeat acoustic guitar) This has been a really
fun experience for me because it’s a huge visual effects film. It’s the story about a man who, he and his wife are about to have their first child. So he goes out searching for his siblings and he finds that he’s one of sextuplets. – I am free! – And Marlon plays all
six roles and his mother. – I complained to mother
about a toothache, all I had was a cavity. – Alan!
– Hey! – Hey, brother!
– Alan! – Come here.
– Look at this. – Oh.
– Come on, brother. Come here and give me some love. Aw, so good to meet you. (deep music) – [Sven] How involved are you? Do you just cut the story
and then you give it to your assistant to
clean up all that part? – Well, you know I’ll do
the rough kind of comps. I will have the performances of, again, Marlon as Alan and Marlon as Russel to work the timing out and the performance out and see what I like best. But to get it to kind of like this level, where it’s to the finished level. That not only went through
my visual effects editor but it also went through our visual effects
supervisor and compositor. I’ll give you another example. This was another interesting scene. This is our CGI bull. (chaotic orchestral music)
– Open the door! (bull bellows)
Russel! Open the door! – Would you stop knocking when
the window’s open seriously? Open the door, Russel!
(bellowing) – You know you have to
use your imagination when you do something like this. I mean, that’s what that looks like without the bull. – [Sven] Oh, wow. – [Lawrence] And that’s what that looks like with the bull. As you see, they paint
out all the rigging. Then they paint in the dent in the car and that’s a pretty realistic
looking bull at this point. (metal crunching)
(bull bellowing) – [Interviewer] Once you get the dailies, walk us through how long it takes to get to this stage. – This is what you’re dealing with. You’re looking at basically a blank frame. So, imagine cutting a bull chase scene where you don’t have
anything chasing anything. So you basically have to imagine it and use your own internal
rhythm as an editor. So there’s the bull, he’s a wooden cutout on the hill. There’s a little bit of a
bull that we shot practically. (laughs) I used him as a stand-in. – Brown cow! – [Lawrence] And I cut in the storyboard. – Yo! (grunts) Toro! – But just in terms of the bull being up on the hill, sort
of having a stare down and then running after Alan and attacking the car. And then he goes around and he attacks him from the other side. You know, that all kinda
had to be done in my mind. (screaming) – What do we do now? – Press the brake! – Okay brake pad, pad. – [Sven] Do you
tend to show scenes fat? – Absolutely, I cut long. And I think that you’re cheating yourself as an editor because they wanna see what they shot, at least, in the first pass. “Riding in Cars with Boys” that I worked on with Richie Marks. The first cut was 5 1/2 hours. – Get out!
– That’s my Dad. All we were doing was making out. – You show the director what they shot. A lot of times can be a lot of improv and crazy stuff that’ll
never end up in the movie. But that’s really not my decision to make at that point in the process. (light music) – [Sven] What
would you say are the most difficult scenes to cut
in a movie like this? – The most difficult stuff to cut is the improv comedy, by far. (wood smashing)
(screaming) The action scenes to me are pretty fun and usually come together pretty quickly. (crunching) The improv comedy however,
there’s just so much material to plow through. You could have, not only five
or six versions of a scene, you could have five or
six versions of a joke. – Where my smokes? – I didn’t bring any smokes. (table thumps)
– Oh, hell no! I know you did not show up to a prison without no damn smokes! (groaning) I know you
ain’t come up in here with no smokes! I know, oh hell no, oh hell no! – For me I like to improvise
which drove everybody crazy. I don’t know what Dawn’s
gonna prepare that day. (moans) – You smell that? That’s a high wipe, he stinks. – Like Russel, when he picks in his butt. I knew that I was gonna say as Dawn “Oh, he got that high wipe.” They would be like what are you doing, why is you picking your butt? And I’d be like, I know what I’m doing. And then I’d be like, “See he got that high wipe.” – It really serves your best interest to cut every version. Because invariably they’re gonna ask, what is that? You know, where is that joke? Where’s that thing? ‘Cause they remember everything. – That’s like going to the boom-boom room and not bringing singles. Ain’t nobody gonna rub on your
little pling-plong for free. – So what I wanna show you was every scene was also script sunk. Because in an improv comedy, it’s the only way to find
the lines that they’re asking for when they’re sitting on the couch and they’re like, “Oh hey,
remember I did this bit?” And I’ll be like, oh God, I’m not sure. I don’t remember. So basically it’s like transcribed and my assistant down in Atlanta, Sarah Bennet did this and
she just really, really did a great job. So many different versions
of individual lines and individual bits. All those are ad-libs. – [Sven] Gotcha,
so you’ll have a moment that just repeats itself
over and over again? – Yeah, just like one
way of reading the line, one way of delivering a joke, another part of a joke, sometimes
Marlon will combine three or four jokes into one joke. You know sometimes it’s just a matter of separating that stuff out. – [Sven] Then here
we have all the different takes and set-ups? – Exactly, you know she color coded it red would be somewhere where he did a restart. Like for example, if I
wanted to see this reading for “Hol’ up, hol’ up, hol’, up.” – Hol’ up, hol’ up, hol’
up, hol’ up, hol’up. Oh, I see, I see it with me and you. – So yeah, there’s a tremendous amount of prep work in this stuff. And it’s certainly more pain staking. But you see the thing is, is that you need a separate person just to do this. There’s no other way to do it because so much else has to go on. Jose was focusing on visual effects, Sarah was focusing on
dailies and script sync. We had another young woman named Jenny who was doing the marking
and doing the comments. (uplifting piano music) – [Sven] What
are some of the traits that make a great assistant editor? – You know, on long form
scripted feature films and television shows,
you have a tremendous amount of source material. So a trait that I look for in an assistant is organization, dedication
to the task at hand, patience and accuracy. You know you really,
really wanna find people that are into it, that
wanna be film editors. I’ve been through a
couple experiences where I’ve hired a PA that, they wanted to be a writer or they
wanted to be something else. it’s like everybody in the cutting room should be really into making the movie and really into the editing
process of the movies. So that’s something that I really look for in an assistant and I really find as a valuable quality. – [Sven] From
your experience working with assistant editors in the field, how many of those wanna be editors? And how many love being assistant editors? – Oh, I would say about
90% want to be editors – [Sven] Okay, so
it is kind of the entry, it’s the gateway to becoming an editor? – Always has been, yes. As long as I’ve worked in this business and in this town. Because it’s pretty rare
to get break-out person coming straight out of film school. But being an assistant and having those organizational skills and
learning the workflow from start to finish is indispensable no matter what. – [Sven] Before we
get into Larry’s insights into working with Netflix,
I took the opportunity to ask him about his
course Master the Workflow. Where he and his former assistant editor, teach aspiring editors
the steps to performing the duties of assistant
editing on a real TV or film production. – My former assistant
on the previous Netflix film I did, Richard Sanchez and I, we came up with this
idea to create a course. What is the experience
of the assistant editor on a long form scripted
film from a major studio or television network? From pre-production all
the way to final delivery. – [Sven] I, myself have seen many of my assistants transition
to becoming union AEs on scripted TV and studio films and ultimately cutting
their first show themselves. Larry’s course is one
extremely effective way of acquiring those marketable skills. – I mean it’s six modules,
we talk about some of the technical requirements of working with the Avid and network
storage and things like that. And then we talk about
the editorial process, dailies, the actual editor’s cut, the director’s cut process, and all of the things that go on. Our real sort of intention with the course besides teaching these critical skills, was to give people a
real world understanding of what it takes to sort
of, work your way up the ladder, pay your dues, to become a film editor. – [Sven] Larry’s course is open now for enrollment for limited time. Use the link in the video description plus a coupon code for 50 bucks off. (slow dance music) So you’ve done a couple
of Netflix projects? – Yeah, this is our second one. – [Sven] How many
years did you do the first one? – It was about a year and a half ago. – [Sven] Okay,
so probably it’s kind of the same relationship, it hasn’t changed? – No, it’s very different. They didn’t have sort
of a head of production at that point on that film and now this was a
Netflix initiated project. So they had a lot more sort of involvement and a lot more feedback. Some of the things that
went on in pre-production, I wasn’t on the film at that point but I know they had a
lot of a strong voice in everything from script to, not so much casting ’cause it was just Marlon. – That’s how you pillow fight! (heavy thudding)
(wood smashing) – [Interviewer] Netflix obviously evolved, they’re doing a lot of original content, but originally it was kind of like, we’re just sort of testing the waters and trying to get David
Fincher to do whatever he wants to do. – Action! – [Sven] But they’re sort of now, giving you a little bit more notes and having more creative input. – Yeah, no, I mean think that’s all part of the maturing process and them coming into
their own as a studio. Let’s face it, they’re a
huge powerhouse in this town. They produce a lot of content. Everyone wants to work with them. They’re new thinkers, they come from this whole other
world like Silicon Valley. And it’s not so much the
old Hollywood studio system. So it’s refreshing, it’s refreshing in a lot of ways to work with those guys, it’s exciting, they’ve got gorgeous studio and screening rooms and
they’re really into technology. But yeah, they are maturing as a studio, you know they’re feeling a bit more like the traditional studio
in terms of giving notes and participating in the process. No, it’s an exciting place to work. – [Sven] Final question on Netflix, they have this data
that they can pull from, so they know if a
thumbnail works on a movie, they know if a certain actor seems to be searched specifically. Is that something that plays a factor when you’re cutting the film? – No, I mean that’s sort of, like I think, their secret sauce to a great extent, but they keep it pretty close to the vest. I just think that they’re
just churning out content, and I think that for
filmmakers, it’s really cool. – [Sven] Yeah, I agree. (upbeat music) ♪ Tell me somethin’, ooh I’ll make you ♪ – [Lawrence] This is the final scene and this is where we have
all seven characters. Again, big motion control shot and you’ve got Marlon as Mom, Jaspar, Dawn, Ethan and Russel. – That nine-month layer dip. I knew it, I knew it!
(spitting) That’s just nasty. – What the hell? – Gross. – Why the hell is there
nine layers in the dip? – And you know, it was all about just trying to make it
feel as organic as possible. In a shot like that, that was a big motion control
shot, seven characters, took like, I think like
seven or eight days, maybe longer to shoot it. But this kind of thing where I would have, you know, these kinds of levels. I would choose like the
sort of hero performances and then I would basically
have Jose fill in the non-speaking parts for reactions and things like that. Because it just became, you
know, it becomes unwieldy when you’re dealing with
seven and eight layers. Or like this shot, this
is just a lock-off. But this is everybody at the end. Each character was
color coded differently, just to be able to manage it all. I know maroon is Ethan,
I know blue is Alan, green is Russel, pink is Dawn. – [Sven] Well
Larry, thank you so much for showing this, opening up
your bay and timeline to us. – My pleasure, man. Really enjoy your stuff! – [Sven] Thank you,
so this will be on Netflix, probably right now as you’re
seeing this on YouTube? – If it’s after August 16th,
it sure as heck should be! – [Sven] All
right, thanks again dude. – (laughs) Thanks man! – [Interviewer] Sorry,
let’s do that again. Thanks again.
(laughing) Let’s do it one more time,
okay I’m doing the fist. (slow electro music) Have you heard of the
Filmsupply EditFest yet? It’s a 30-day editing competition to cut a 60 second spec piece for advertising, title
sequence or movie trailer. Filmsupply, Musicbed and
Boom Library give you access to footage, music tracks
and sound effects. And you can win $80,000 in cash and prizes from all the sponsors involved. Did I mention that I’m a proud sponsor? So if you do well, you can
win one of the many seats of my premium online
course “The Go-To Editor.” Use the link in description, to check out EditFest and start cutting. Thanks for watching. ♪ Gonna give me good luck, good luck ♪ (upbeat music)


  • Reply Voltage Tutorials September 13, 2019 at 8:58 pm

    Amazing video, thank you very much

  • Reply WATCH ME GAME September 13, 2019 at 10:18 pm

    I thought this film was great. Im in awe of the editing as i haven't even mastered the basics in my vids

  • Reply James Macdonald September 13, 2019 at 10:39 pm

    Great video! 👏🏻📸🎬📹🎞🎧

  • Reply Will Rogers September 14, 2019 at 2:55 am

    It must suck having to edit such terrible movies.

  • Reply John Barrett September 14, 2019 at 6:58 am

    Looks like you’re using After Effects

  • Reply B&M Unlimited September 14, 2019 at 9:51 am

    Love it!

  • Reply homiphone NZ September 14, 2019 at 10:04 am

    After spending a year at film school and working on avid it’s pretty cool to see the same workflow that we were trained on thanks for the vid man

  • Reply Klent Tangaro September 14, 2019 at 11:43 am

    In the bull part, there was a fault that the car dont' have even dents to the final production video. So bad that even it is premiered on Netflix? Can they make it even real? Because they have more budget but can't sometimes make their films real… Hope they can fix it

  • Reply MONO September 14, 2019 at 12:05 pm

    Excellent interview and insight, keep up the fantastic work…

  • Reply Chauncey Jackson September 14, 2019 at 1:10 pm

    As a film editor, this is soooooooo educational for me. Thank you.

  • Reply Hasanul banna September 14, 2019 at 1:17 pm


  • Reply Merin September 14, 2019 at 2:52 pm

    Mike Tiddies

  • Reply Art Photo September 14, 2019 at 2:52 pm

    Very well done. ❤️👍 Keep'em coming

  • Reply Justin Michelson September 14, 2019 at 2:54 pm

    tell your cameraman to switch to decaf i couldn't watch all of this because i was afraid i'd have a seizure…

  • Reply sreeraj. design September 14, 2019 at 3:13 pm

    Why this much of vfx work is wasted ? hard job

  • Reply hadoukient September 14, 2019 at 3:48 pm

    i thought the sextuplets movie was good. it wasnt that bad that yall are making it out to be.

  • Reply Os / Hs September 14, 2019 at 3:57 pm

    I felt like i'd never be able to do what these guys do.
    Until that handshake.. that i always do

  • Reply Room TwentyNine September 14, 2019 at 4:09 pm

    What program they used btw?

  • Reply Azerka September 14, 2019 at 6:18 pm

    I saw this movie before i stumbled into this video, and it is sooo trash

  • Reply rollin benoit September 14, 2019 at 7:45 pm

    didn't know that John Cleese was also an editor !

  • Reply ItsGuppy September 14, 2019 at 8:48 pm

    What is the program called

  • Reply RenStarFilm September 14, 2019 at 8:54 pm

    They Use Avid?

  • Reply Casual King September 14, 2019 at 8:58 pm

    So these are the people that edited that tragedy…

  • Reply Osagie E September 14, 2019 at 9:01 pm

    @15:25 7-8 layers isn't as bad as 9 in a dip!

  • Reply Michael Collins September 14, 2019 at 9:43 pm

    I would love to know what software is he is using; especially the scriptnotes and thumbnails…

  • Reply Shanika Freeman September 14, 2019 at 9:49 pm

    I need a video like this but with Orphan Black. Because man that was some good tv. Tatiana plays like 6 or so characters and the edits are pretty dope.

  • Reply Bao Nguyen September 14, 2019 at 10:19 pm

    Absolutely insane.

  • Reply SimSimsTECHcrunch September 14, 2019 at 11:38 pm

    I saw a classic Mac Pro 🙂

  • Reply Zachariah Abraham September 15, 2019 at 1:26 am

    This is such a cool inside look into their workflow, AWESOME.

  • Reply Waterland Films September 15, 2019 at 5:29 am

    Salute to Jordan Lawrence and to all of you guys! You all rock!

  • Reply Jonas Van Gestel September 15, 2019 at 1:06 pm

    Lovely bts content, thanks for sharing!

  • Reply Bum Of The Night September 15, 2019 at 4:07 pm


  • Reply JJ Broadcast September 15, 2019 at 5:41 pm

    Video was great and all, but no-one has mentioned there's a guy called Richard Sanchez in this. You guys know Rick is a shortened version of Richard right?

  • Reply GODSON RECORDS September 15, 2019 at 5:53 pm

    awesome stuff!!

  • Reply CuReD_bacon September 15, 2019 at 6:15 pm

    That bull scene is terrible

  • Reply Mrv3n September 15, 2019 at 8:47 pm

    Kommst du zufällig aus Deutschland? oder Bilde ich mir diesen Akzent nur ein? 😀

  • Reply James Peter September 15, 2019 at 11:41 pm

    This wasn't a crash course, or a course for that matter.

  • Reply Familia eNeVe September 16, 2019 at 12:29 am

    I wanna see this series so bad right now. Is it out yet?

  • Reply Ashley Qiu September 16, 2019 at 1:23 am

    Does anyone know what editing software he was using?

  • Reply Submersed24 September 16, 2019 at 1:49 am

    super impressive

  • Reply pc gamerz September 16, 2019 at 4:11 am

    what video editing software are they using an why is it not available to the public

  • Reply George Rady September 16, 2019 at 4:17 am

    Great video! Love to see the Rubber meet the road… but Netflix’s days are numbered. Remember Blockbuster? Tower? Much cheaper ways to shoot and cut and stream.

  • Reply Barely Sociable September 16, 2019 at 4:56 am

    They used the world of Warcraft bear growl noise on the bull lol 5:08

  • Reply Jay Tree September 16, 2019 at 7:43 am

    Why do all your movie suck?

  • Reply Raneem Football September 16, 2019 at 11:28 am

    This Channel is more worth than every film school

  • Reply Creative 7 Inc September 16, 2019 at 3:45 pm

    This is a masterpiece. such a well put together video full of the perfect info for editors

  • Reply Mike256 September 16, 2019 at 4:11 pm

    Fantastic insight!

  • Reply Agent К_видео September 16, 2019 at 5:04 pm

    After hearing that Netflix is the most popular streaming service.
    Me: "Let me check if Netflix has that movie/tv show."
    Netflix: "Hahahahaha!!! You wish!"

  • Reply GVZ September 16, 2019 at 8:30 pm

    Why they show this shitty movie???

  • Reply SJAAK September 16, 2019 at 9:22 pm

    wow just wow.. because i was watching the movie.. And thought: Damn that would be a HECK of a job to edit..

  • Reply Rob R September 17, 2019 at 12:36 am

    Curious, what are the specs of that computer he is using? Obviously, there is some networking for storage but wow, it has to be a beast.

  • Reply Illest Visionz September 17, 2019 at 7:46 am

    That’s cool but this movie is ass.

  • Reply Aditya b September 17, 2019 at 9:47 am


  • Reply Dave Katague September 17, 2019 at 10:33 am

    I just realised why it's called this This Guy Edits and started laughing out loud

  • Reply M Wing September 17, 2019 at 12:50 pm

    Like the video effects aspect but I could care less if Netflix has billions of subscribers. So …what? I am supposed to become a member because everyone else is? What if all of them were jumping off a 1000 foot cliff? I am supposed to follow because of the numbers? I think not. Personally, there is enough media out there for me to never subscribe to Netflix. I don't pay anything for that! :O)

  • Reply David Henry Vargas September 17, 2019 at 5:46 pm

    Great content Talking as an Editor and Post- Producer

  • Reply LOVA TV September 17, 2019 at 8:20 pm

    Nice editing…i need to take course about editing..

  • Reply Tokyo Ghoul September 18, 2019 at 7:18 am

    well lets say ty for editing movies for us

  • Reply yeahmanga ka September 18, 2019 at 9:45 am

    Which software?

  • Reply AuthenTech - Ben Schmanke September 18, 2019 at 2:31 pm

    Very insightful, thanks for sharing!

  • Reply Inspired Shahied September 18, 2019 at 2:56 pm

    Looking at the editors braced up hand makes me rethink wanting to continue being an editor 😂 inspiring video nevertheless! Great channel 👌

  • Reply Rishabh Purohit September 18, 2019 at 7:58 pm

    Dude I want to be an editor, JUST EDITING and never have I met another person with the same aspiration. Most don't even feel it's a thing. Idk man

  • Reply Roman BRuni September 18, 2019 at 9:34 pm

    trés nice ! lovely ! really insightfull having a master editor opening his satori place to show editing know-how.
    but a good glimpse of the real day to day process skills… thanks ! cheers from Rio

  • Reply Christopher Napoli September 19, 2019 at 2:40 am

    Apparently Scuba Steve also did the markings at 9:30

  • Reply Maxthecat123 September 19, 2019 at 2:46 am

    What size are the three monitors on his desk

  • Reply SeanThePro September 19, 2019 at 5:08 am

    i watched this movie, didn’t find it all that funny, but i am trying to career in film/video editing. this video shows a lot of skills needed for making movies nowadays and how good you actually need to be at editing with special effects and things done in post, so thanks.

  • Reply CREATOR WORLD September 19, 2019 at 10:03 am

    Im a New Video Editor in this industry Want to expand my knowledge to Become a film editor this Video is lot helpfull 👍Want to be a part of Film Industry😄

  • Reply Amath Magnan September 19, 2019 at 9:54 pm

    I was about to buy the course, until I saw the price of it. I'll ask for Christmas maybe… 🙁

  • Reply GTA V Movies September 19, 2019 at 9:59 pm

    That's probably the best Animated Bull I've seen in a Netflix Original

  • Reply Mariana September 20, 2019 at 1:33 am


  • Reply MultiVerse Studio September 20, 2019 at 2:53 am

    It's my dream to become an assistant editor. And some day I will definitely achieve it.

  • Reply Shalom Promotion September 20, 2019 at 4:28 pm

    Wow nice , i need trading pls sponsored me 🙏🙏🙏

  • Reply LoVe Khaira September 21, 2019 at 4:16 pm

    Few days ago I saw entire movie but really I didn't know all the characters were artificial in this movie and I was thinking what a boring concept of this movie, but now I think it deserves a lot respect. I appreciate your work really you did splendid.

  • Reply AmCan Tech September 21, 2019 at 7:20 pm

    What does it mean to have ACE as a title??

  • Reply RASU KSHATRI (Film's) September 21, 2019 at 10:22 pm

    What Software was that??

  • Reply D'arcy Leland September 22, 2019 at 4:16 pm

    Does it help to have your editor on set of a small production film?

  • Reply Aaron Holder September 23, 2019 at 6:10 am

    Great info, but that sibilance is about to blow my phone speaker.

  • Reply Zhilly ahmad September 25, 2019 at 4:28 am

    what's the music in the end of the video?

  • Reply Macmittens411 September 26, 2019 at 4:45 pm

    I just seen a Monitor on it that said HP. Sorry I'm out.

  • Reply Nathan Miller Video September 26, 2019 at 9:14 pm

    That actually looks like a ton of fun. I'm a supervisor working on pre-recorded content for ESPN and Monster totally different type of film editing but I love the end results that come out of Netflix.

  • Reply Kiomoh September 26, 2019 at 11:12 pm

    Apple lauch a monitor for "professionals" with the 1k$ stand, and real editors use HP monitors 😂

  • Reply Pablo Martinez September 27, 2019 at 2:01 am

    This content is GOLD. Thank you!

  • Reply Mikoy Fernandez September 27, 2019 at 9:54 am

    It's nice to see what it's like to edit this kind of film!

  • Reply DOT TBPA September 27, 2019 at 6:50 pm

    Me: Editing A Comedy short Film
    Turns out Drama.. 😂

  • Reply Jake Nuno September 28, 2019 at 10:59 pm

    Everyone talking crap on his monitors doesn't seem the see the REAL monitor on the far right with all the BNC connectors. lol You only need one reference monitor, maybe 2 if you are working color.

  • Reply Why Ymje September 29, 2019 at 3:42 pm

    150+m woah.

  • Reply Takeru September 29, 2019 at 7:02 pm

    Why you guys hating this movie? I liked it lol

  • Reply mike kenneth September 30, 2019 at 12:02 pm

    all this work for "sextuplets"… sad really

  • Reply Evan Montgomery October 2, 2019 at 4:59 am

    Is premier pro what is being used in this video?

  • Reply Script Sleuth October 2, 2019 at 3:42 pm

    Editors simply do not get enough credit for making stories come through in the best possible way. They have a tremendously difficult job!

  • Reply Gamers best friend October 3, 2019 at 8:38 pm

    Unfortunately actors get more respect than editors ik what it's like I spent 6 days making a video and it's not completely done

  • Reply iStoleYoToast October 4, 2019 at 12:52 am

    Can you edit my videos?

  • Reply David Moreno Belmonte October 4, 2019 at 5:52 am

    What software is he using which you can edit and see your script on the screen? Anyone can share the name please? thanks!

  • Reply Yubis Smile Studio October 13, 2019 at 9:41 am

    Good job

  • Reply Rhowski October 15, 2019 at 8:24 pm

    thank you!

  • Reply Lhenndyn October 18, 2019 at 7:59 pm

    Interesting, thanks. But Avid… arrrr… so old school, so… ugly 🙂 I learned on that software, but since 15 years i work on Final cut (7 then X), Premiere, and now i'm learning Da vinci, that i think will beat the others pretty bad. Avid didn't progress during all this time, it's just… not ergonomic at all. But, yeah, i know… it's for professionnals. Big joke… all those terrible colored tracks almost killed my eyes !

  • Reply Daniel Startek October 21, 2019 at 1:07 pm

    Are you a guy or are you an edit?

  • Reply Ashu Shahi October 24, 2019 at 9:36 am

    These movie clips invoke a puking sensation, yuck WTH is this stuff?

  • Reply Thaimachine Films October 24, 2019 at 12:06 pm

    dont judge the book by its cover

  • Reply Sam Sloan October 28, 2019 at 5:21 am

    Why Avid? why not premiere pro?

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